“I feel like a spectator in my own life.”
This film best put, feels like a mirror to the audience. We’re not all Julie, but in a sense we very much are. Life’s complicated, it’s encompassed by good decisions and bad ones, decisions at the time where we have no idea of their outcomes, decisions that aren’t even are own, moments of impulse, moments of deep thought. Simply put we’re messy, but that doesn’t make us bad, or the worst person in the world, it makes us human.
Julie reflects these innate human characteristics that we feel during our lives, of feeling the weight of time and not knowing what to do with oneself, but then suddenly feeling as if we’ve got it all figured out. It’s this eb and flow of emotions, of highs and lows, that is what we call life, and this film captures that perfectly.
Joachim Trier’s direction is outstanding. The film is all over the place technically, and usually that might be used as a critique of the film, but this messy chaotic style is so purposeful as it reflects the ever-changing aspects of life. In addition, having so many different techniques and storytelling devices for him to play with gives some of the best and most memorable sequences I’ve seen in a film. The scene of Julie running is unbelievably incredible, both in a cinematic sense but also just narratively its delightful.
Speaking of the narrative, who doesn’t love when a film is split into chapters, so it makes you feel like you’re an intellectual reading a book. The screenplay is truly outstanding though. Trier and his writing partner Eskil Vogt have penned a script that just gets life. I don’t know if there’s a better way of putting that, but they just understand the complexities and nuances of life are able to show in a such a poignant and unique way. Not to mention all the dialogue is fantastic, and some that actually sent me off into deep thoughts about my own life, but the last 30 minutes are emotionally devastating and are simply stunning.
Every single performance is wonderful, Herbert Nordrum is a delight, Anders Danielsen Lie was captivating throughout but especially in the last 30 minutes but Renate Reinsve, wow. This might be one of my favourite performances of all time. Sure, in every conversation Julie was having the acting was incredible, but it was the moments of quiet and solace that had me enamoured. So much was written all over her face, Julie didn’t have to say anything, and I understood what she was feeling. She really deserved the Best Actress award at Cannes, and I wish the Academy had recognised her performances as it was of the best of the year.
Any fan of Sally Rooney’s will love this film.
★★★★★
